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This Work Has Been Submitted to NECTAR, the Northampton Electronic Collection of Theses and Research This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Article Title: Introduction: Bloodlines: hunting the vampire through TV history Creators: Jowett, L., Abbott, S. and Starr, M. DOI: 10.1386/host.8.2.175_2 R Example citation: Jowett, L., Abbott, S. and Starr, M. (2A017) Introduction: Bloodlines: hunting the vampire through TV history. Horror Studies. 8(2), pp. 175-182. 2040-3275. It is advisable to refer to the publisher's version ifT you intend to cite from this work. Version: Accepted version C Official URL: https://doi.orEg/10.1386/host.8.2.175_2 Nhttp://nectar.northampton.ac.uk/9745/ TV Fangdom: Horror Studies special edition Introduction Bloodlines: Hunting the Vampire through TV History Stacey Abbott, Lorna Jowett and Michael Starr On the 18th April 1967, in the daytime soap opera Dark Shadows (1966-71), the corrupt and thieving con artist Willie Loomis (John Karlen) entered a hidden crypt within the Collins family mausoleum, hoping to uncover the family jewels. Instead he unleashed a monster onto the unsuspecting town of Collinsport, Maine—the vampire Barnabas Collins (Jonathan Frid) who had been trapped in his coffin for a hundred and seventy years. Barnabas was not the first vampire to appear on television, but his popularity with audiences signalled a synergy between the vampire and television that has flourished ever since. While initially associated with literary gothic adaptations or allusions, the vampire haunts multiple genres and modes of television, from children’s programming to comedy, from teen romance to graphic horror, from melodrama to the post-apocalypse, from episodic to long running serial narratives, and from low budget to prestige productions. The vampire is undeniably ubiquitous in the contemporary television landscape. Following the success of Buffy the Vampire Slayer (1997- 2003) and its spin-off Angel (1999-2004), and shortly after the literary and cinematic phenomenon that was Twilight, vampire romances have multiplied, with True Blood (2008- 2014), The Vampire Diaries (2009-17) and its spin-off The Originals (2013-) all demonstrating the immortal appeal of this seductive undead icon—as well as spawning the acronym VILF. These series necessarily reflect on and refine the sympathetic and/or reluctant vampire tropes that emerge so influentially in Dark Shadows (as discussed by Spooner in this issue). Other, more recent series, react to the paranormal romance boom by offering a different, graphically horrific or apocalyptic view of the vampire, resituating the genre within the growing landscape of horror on television—The Strain (2014-17), From Dusk Till Dawn (2014-), Van Helsing (2014-). Bram Stoker’s Dracula has once again risen from the grave, fusing the romance, horror and apocalyptic genres into enthralling hybrids serving vastly different audiences (Dracula [2013-14], Penny Dreadful [2014-16], Young Dracula [2006-]). Recent vampire fictions continue to provide a fertile source of material for new series, including adaptations of Justin Cronin’s apocalyptic vampire narrative The Passage, currently in development, and John Lindquist’s acclaimed Swedish novel, Let the Right One In, a text that has previously been adapted as Swedish and American films as well as a Scottish stage play. Even Anne Rice has been drawn to television as she begins the process of 1 developing a TV series based upon her Vampire Chronicles. News of another Dracula series, from UK Sherlock (2010-17) creators Steven Moffat and Mark Gatiss and thus probably a prestige BBC series of feature-length episodes in a miniseries format, is stirring up vampire fans across the world. Lady Gaga’s Countess in anthology series American Horror Story’s fifth season, AHS: Hotel (2015-16) stirred things up in another sense, demonstrating further possibilities for celebrity casting. Hotel delivers a lavish, spectacular mash-up of Kubrick’s The Shining (1980) and Tony Scott’s The Hunger (1983) but it is dripping with delirious televisuality and, like other popular FX series, pushes the boundaries of television. Meanwhile, streaming and Video-on-Demand (VoD) services continue to capitalise on vampires, with Netflix following the success of its first original drama series, House of Cards (2013-), with a vampire series, Hemlock Grove (2013-2015). Hemlock Grove may not have been as critically acclaimed and long-running as House of Cards, but its twisted reimagining of vampires, werewolves, witches, mad scientists and other horror monsters cast a lurid lens on the genre that appealed to its niche audience. Netflix, then, recognises the lure of the vampire, and has since acquired Van Helsing, as well as launching another of its own original programmes, Castlevania (2017-), an animated series based on the Japanese video games from the 1980s. Amazon UK distributes AMC’s Preacher (2016-), which features a vampire as one of three main characters, and Amazon Japan has streamed seven-episodes of an original series, Tokyo Vampire Hotel (2017-) directed by provocateur Sion Sono. Meanwhile online TV formats encourage independent filmmakers to create series like So Dark (2016-) and the Canadian reimagining of LeFanu’s novella Carmilla (2014-), where the limitations of the single-frame vlog format inspire leaps of imagination and ingenuity. Likewise, the vampire has spawned contemporary transmedia franchises. The Vampire Diaries has two separate novel series, two TV shows, podcasts, fan websites, and a large music community. The multi-platform video games Buffy The Vampire Slayer and its sequel Buffy The Vampire Slayer: Chaos Bleeds (2003), with corresponding comic book prequels and novelisations were early transmedia hits. However, whilst vampires have invaded the mass media, this has yet to manifest its full potential in the medium of video game. The successful Castlevania and Bloodrayne (2002-2011) series feature vampires heavily, yet vampires appear here as generic enemies rather than playable protagonists, a trait typical of the video game vampire, in direct contrast to the fascination with reluctant or sympathetic vampires in other media. One notable exception is the board-game adaptation Vampire: The Masquerade – Bloodlines (Activision 2004), a videogame that grew out of the tabletop role playing game, Vampire: The Masquerade (1991) and which has been critically 2 (if not commercially) successful due to writing and characterization that do some justice to the nuances of the vampire in the 21st century. So though the videogame vampire has yet to reach the ubiquity of televisual representations, with franchise Vampire: The Masquerade inspiring the TV series Kindred: The Embraced (1996), Bloodrayne spawning its own film series, and the Underworld films clearly heavily indebted to video game aesthetics, such transmedia expansions and experiences serve to further the spread of the vampire into popular culture and entertainment. In fact, with Castlevania the TV series being hailed as ‘the future of videogame adaptation’ (Muncie 2017) it seems likely that more of the undead will be moving from games to television screens. Despite a rich legacy of the vampire on television, as well as its continued popularity within a changing television landscape, published scholarship on this subject has remained focused on a selection of series, Buffy the Vampire Slayer, Angel and True Blood in particular (see Wilcox 2005; Jowett 2005;, Abbott 2009; Cherry 2012). While Dracula remains a focal point within any discussion of the vampire across media, its televisual presence is only occasionally discussed and even then is usually detached from its production and broadcast context, or, as Stacey Abbott argues in this issue, used to signal the decline of Stoker’s master vampire in the light of changes to the horror genre. To counter this gap in scholarship, the two conferences we organised that inspired the articles in this special edition (TV Fangdom at the University of Northampton and Daughter of Fangdom at the University of Roehampton), yielded a rich body of work on the vampire throughout television history, addressing issues of aesthetics, industry, gender, reception, audience and national culture. While series such as Buffy, Angel and True Blood figured prominently, highlighting their impact upon the genre, they were accompanied by an international range of shows, both contemporary and historical. As 2017 marked the twentieth anniversary of Buffy the Vampire Slayer, the fiftieth anniversary of the first appearance of sympathetic vampire Barnabas Collins and the conclusion to the long-running The Vampire Diaries, it seems an ideal opportunity to reflect on the histories and meanings of the vampire on television. The articles included here showcase the range and variety of vampire TV, in some cases pointing to their contribution to the evolution of horror on television, only now receiving critical attention; in others mining the rich bloodlines of the vampire throughout popular narratives. Where else would an exploration of the vampire begin but with the most famous vampire? Stacey Abbott’s ‘“Look Who’s Got a Case of Dark Prince Envy”: Dracula, Televisuality and the Golden Age(s) of TV Horror’ sketches out a history of Dracula on television, from the 1950s to contemporary horror series. By analysing key examples situated 3 within particularly fruitful periods for television and television horror, and comparing their Draculas with popular cinematic versions of the Count, Abbott sheds light on historical and industrial
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